Gloryhammer – Space 1992: Rise Of The Chaos Wizards

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Gloryhammer are a Swiss/Scottish five piece, founded by Alestorm‘s Christopher Bowes. Referring to themselves as “Heroic Fantasy Power Metal Warriors”, they write songs like ‘The Unicorn Invasion of Dundee’, they have a drummer called Ralathor, the Mysterious Hermit of Cowdenbeath, and are quite clearly madder than a sack of badgers.

Most importantly though, Gloryhammer are also ridiculously entertaining.  If you somehow manage to listen to new album Space 1992: Rise of the Chaos Wizards (Napalm) without grinning like an idiot all the way through it, then quite simply, you’re getting Metal wrong.

Opening with ‘Infernus Ad Astra’, quite possibly the most Star Trek introduction ever, the story (of course there’s a story) begins in the distant future of 1992 and war, as always seems to be the case in science fiction, has returned to the galaxy. Apparently, it’s been 1000 years since Angus McFife defeated the evil Sorcerer Zargothrax in the battle of Dunfermline, but now a cult of unholy chaos wizards are planning to release Zargothrax and unleash him upon the universe again.

The absolute bastards.

The album kicks off properly with ‘Rise of the Chaos Wizards’, a song which not only pumps the purest Rhapsody of Fire blood furiously through its veins, but also happens to be better than anything either incarnation of that band have produced since going their separate ways. ‘Legend of the Astral Hammer’ follows with its fierce and manly True Metal chorus – stupidly simple and twice as catchy, you’ll be striding around your house, chest out and holding an invisible tankard of ale, singing it for days. The Rhapsody worship returns on the brilliant ‘Goblin King of the Darkstorm Galaxy’, and ‘The Hollywood Hootsman’ has another one of those choruses which you’ll keep in your head far longer than is medically recommended. ‘Victorious Eagle Warfare’ sounds like Iron Maiden and Stratovarius went to a keyboard party at Judas Priest‘s house. ‘Questlords of Inverness, Ride to the Galactic Fortress!’ will make you sing its daft lyrics out loud and in public, and the fast, pulsing rhythm of ‘Universe on Fire’ will have you dancing in your seat like a deranged gibbon. ‘Heroes (of Dundee)’ is nice and straightforward, and the lengthy and melodramatic ‘Apocalypse 1992’ finishes the story off in the manner you’d wish for, with gravel-throated narration, jabbing and swirling keyboards, mighty riffs, and lines such as “like tears of a unicorn lost in the rain, chaos will triumph this day”. The album is rounded off by instrumental ‘Dundax Aeterna’ and the first thing you’ll want to do after it finishes is go back and to the beginning and start the whole thing up again.

If you want your Power Metal to be original or innovative, then you’re in the wrong place. Gloryhammer don’t just wear their influences on their sleeve, they have them emblazoned across battle armour, embroidered over wizards robes and branded onto unicorns arses.

Faster than a laser bullet indeed.

 

8.5/10

 

GARY ALCOCK


Video: The Black Queen- Ice to Never

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Still image from The Black Queen 'Ice to Never' video

Still image from The Black Queen ‘Ice to Never’ video

Los Angeles artsy electonic trio The Black Queen, led by Dillinger Escape Plan vocalist Greg Puciato, has released a new video for the single ‘Ice to Never’. You can watch the video at this link or below:

 

The Black Queen new single

Directed by Rob Sheridan, known for his work with Nine Inch Nails, the video follows TBQ’s  Stephen Alexander walking around downtown L.A.

Puciato comments on the ‘Ice To Never’ video

“The bulk of this album was written and recorded living together in a desolate industrial area of downtown LA, a few blocks from skid row, so it felt right to incorporate the area into the video…”

“Our lives at the time were also each in this sort of insular but necessary ‘dark night of the soul’ type of rebuilding period, but this song in particular coming together carried a moment of uplift with it,” “Musically, lyrically, overall energy. The juxtaposition felt tangibly surreal. We wanted to marry all of that together in the video. There is positive energy in the skid row shots. It’s there in reality. In any instance where there is the hope that comes from the camaraderie of a group struggle. The end ocean scene can be a symbol of many things. The ominous unknown, or the prize to which people blindly and unwaveringly aspire to; the top. Or it’s the mistake of trying to do everything alone. Any and all of those can magnetize and then swallow and destroy you. Rob did an amazing job with the concept, as well as with adding visual period piece nods to the time that we all grew our roots in.”

‘Ice to Never’ comes from Fever Daydream, the forthcoming debut from The Black Queen, due out in early 2016. Digital downloads of both “Ice To Never” and another single, “The End Where We Start” are available via iTunes.

 

 

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The Black Queen is:

Greg Puciato – vocals and programming

Steven Alexander – programming/production

Josh Eustis – multi-imstrumentalist/programming

 

The Black Queen online

The Black Queen on Facebook

The Black Queen on on instagram

The Black Queen on Twitter

 


One Machine – The Final Cull

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One Machine The Final Cull album cover 2015

It’s no secret that metal music seems to be getting tamer recently, especially due to the influx of metalcore bands dominating the scene. However, there is no need to lose hope yet. If you are craving a dose of proper metal then you definitely need to check out what One Machine have been up to. Their latest album, The Final Cull (self-release), serves as testament (no pun intended) that traditional metal music will never die.

Opening track ‘Forewarning’ opens with a killer guitar riff: it is almost as if Steve Smyth (Nevermore, Forbidden, Dragonlord, Vicious Rumors) and co. are warning the listener that there will be no gimmicks or frills used on The Final Cull, just pure metal music. Chris Hawkins’ vocals are as powerful as ever, allowing the listener to fully engage with the lyrical content.

Title track ‘The Final Cull’ is about the captain of a ship on the stormy seas carrying human cargo, and he is unsure of whether the humans are alive or dead. The morbid theme of the song is not only apparent from the lyrics, but it is also emphasised by the gloomy orchestral opening of the song. This progresses into a heavy and unforgettable song which will send shivers down your spine.

‘New Motive Power’ is a four-minute thrill-ride of a song. The shredding guitar riffs make it almost impossible to sit still through and it will be interesting to see how this song would sound live. It is powerful, passionate and heavy: everything that metal music should be.

‘Ashes In The Sky’ begins as a beautiful and melodic song, completely different to all of the other songs on The Final Cull. Chris’ voice is soothing and relaxing, which could easily make you think that you are listening to the wrong album. However, around the two and a half minute mark the song progresses into a heavier dimension with chugging guitar riffs.

Both old and new fans will find something to love about this incredible offering from One Machine. It is hard to be disappointed with an album which will make you want to either smash things up or drive full-speed down the motorway.

7.5/10

 

JULIA CONOPO

 


Audio: Deafheaven – New Bermuda, Full Album Streaming

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Deafheaven. Photo Credit Kristin Coufer

Deafheaven. Photo Credit Kristin Coufer

With a little over a week away until its release, Deafheaven have made their new album New Bermuda available for streaming at NPR’s “First Listen”. You can stream the album at this link or below:

 

deafheaven new bermuda album cover 2015

Deafheaven’s New Bermuda releases next Friday, October 2nd from Anti-Records.

New Bermuda track listing:

01 Brought to the Water
02 Luna
03 Baby Blue
04 Come Back
05 Gifts for the Earth


Jailbreak – Ash Gray of Venom Prison

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Venom Prison 2015

Something is stirring on the fetid island of Great Britain at the moment as rearing their ugly heads is a new breed worshipping the deathly hallows. One of the emerging hydra-heads are South Wales outfit Venom Prison, a band who made their mark on Temples Festival earlier in 2015 and have followed it up in some style, with their début EP The Primal Chaos (Soaked In Torment).

A noisy, aggressive fucker combining death metal (old and new) with elements of hardcore, with a powerful live feel that keeps the fists flailing while sluicing a “proper” death metal feel over the riffs that have origins in over 25 years of the sickest end of metal, from Scream Bloody Gore (Combat) to more contemporary death metal acts.
“Our intentions whilst writing this EP was to really push forward on a Death Metal vibe” begins guitarist Ash Gray. “It took a lot of binning songs that were written to get to the point the EP is at. It’s a new band, so finding our feet with our sound is very important to us at the moment, but I think we are heading in the right direction.”

Mixing modern death metal without the clickiness and sterility too many contemporary bands inflict on nauseated ears, and with a natural hardcore feel to it but without heading into breakdown overload territory, The Primal Chaos has a great feeling of balance to it. Gray is happy to acknowledge the main ingredients in the Venom Prison melting pot, pointing out “We aren’t interested in triggered drums that sound like machine guns. Don’t get me wrong, you can’t fault a rank slam band with hilarious snare and kick but that’s not what Venom Prison is about.

“Getting the balance for our songs is something that takes time. We didn’t fancy writing blast, beatdown, blast, beatdown, we wanted to make it a bit more legit and something that has character.” In the ultimate death metal vs hardcore streetfight, who wins out…? Glen Benton or Jamey Jasta? “I want to say Glen Benton, as Deicide and what he did in Vital Remains was sick but I’ve been into and going to hardcore shows for years, and Hatebreed got me into a lot of shit. I’m going with Jasta.”

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“Venom Prison basically started with me and Larissa wanting to do a Death Metal band which is something different for both of us” continues Gray, quick to dismiss a past that includes his being in Brutality Will Prevail, a fact that, while an interesting footnote, is something he gives short shrift to. “(The) background to this band, I really think is irrelevant. Venom Prison is something that we wanted to start all over again and build up as a band, straight back to square one.”

After mentioning the bands break-out performance at Temples Festival, for a group that seemed quiet and polite, the onstage reality was a fervent blast of aggression and violence. So… where does that rage come from!? What happens when you enter the Venom Prison? “Everything that makes you mad, (you) just let it out when you play.”

And speaking of breakout, this calendar year has seen Venom Prison rise from unknowns to a band creating a buzz of anticipation around their next steps. “2015 has been pretty good to us” agrees Gray. “Shout out to John and Kaine from Soaked In Torment Records for wanting to put the seven-inch out and being a great help to the band.” So, what is next to escape the Venom Prison…?

“It’s time for an LP, which I can say is being worked on right now.”

 

 

WORDS BY STEVE TOVEY


Horisont – Odyssey

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Horisont-Odyssey

The term ‘retro rock’ is quite an ambiguous and, at times, ignorant one; used to describe any band that shows obvious traits from vintage bands whilst often ignoring when the band steps beyond these pigeonholes. Sweden’s Horisont have lived with the retro tag throughout their career with good reason up to this point, proving fairly rigid and set in their ways. On latest opus Odyssey (Rise Above) however, they have upped their game significantly.

Building on the slight elements of progressive rock on their last album, here those 70’s Prog influences are vivid and much more central to the album’s fabric, as evidenced by the opening 10 minute, synth driven title track. As much influenced by the likes of Jeff Wayne and Yes as the likes of Fleetwood Mac and even hints of psychedelic elements ala Hawkwind, Odyssey is a very colourful and quirky album that oozes character and charm with as many hooks as it has left-field signatures.

Where it suffers is in its duration; with two songs above the 8 minute mark and most others around 5-6 it proves a time consuming and somewhat arduous one to fully grasp and digest. Given time however and this has a wealth of gold to delve in to.

Where Horisont may have firm classic influences, from classic rock to the more progressive arena now, how they meld them together and evolve themselves shows why they are so much more than just a ‘retro rock’ act.

No less fun, but with a greater sense of discovery to them than many of their peers.

 

7.0/10

 

CHRIS TIPPELL

 


Video Premiere: Solus Deus – Horror Of Nothingness

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still image from Solus Deus Horror of Nothingness

 

Ghost Cult brings you the new video from California thug metallers  Solus Deus today. You can watch the zombie-themed video for their track ‘Horror of Nothingness’ at this link or below:

 

Solus Deus is comprised of members of bands such as Bleed the Sky, Chimaira, the Elite, Living Sacrifice & Once to Die and mashes up the gore of death metal, the grooves of deathcore and lyrical themes from the slasher films and the streets. The band has booked a gig this December 18th at The Whiskey A Go-Go in Los Angeles, opening for Asesino and Sons of Eli.

solus deus asensino flyer

Solus Deus is:

Jey Collins – vocals

Wayne Miller – guitar

Rocky Gray – guitar

Tony Sciangello – bass

Austin D’Amond – drums

Photo By Sik Imagery

Photo By Sik Imagery

Solus Deus online

Solus Deus on Facebook

Solus Deus on Twitter


Mountain Man – Rumination

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Mountain Man from Worcester Massachusetts are described as Hardcore/Punk on their Facebook page. You may hear influence from both genres, but I feel such a simple description undersells Rumination in such a way it‘s depriving you of peaking your interest in listening to their new sophomore effort released from End Result Productions. There is much more of a raw emotion that can’t be summed up in describing it as Hardcore/Punk. Rumination is also far from being just a one trick pony. It can be uplifting, the next moment in your face, then very relaxing. All while having this strong atmosphere that grabs a hold.

The first track, ‘Kingdom Came‘, starts off definitely sounding of Hardcore influence. As it goes on it continues to slow down into more of a Post-Rock feel. A very smooth transition into a steady beat with the occasional guitar strum. With the last couple minutes it builds back up and ascends into a rather uplifting climax. The second track , ‘Dust Can’t Kill Me‘, is a steady bass drum with brooding hums in the background. Shortly after a minute is when hell breaks loose. A vicious and constant pounding like blows to the head. This is where to me Mountain Man sounded the most Hardcore. The third track I thoroughly enjoyed myself, ‘Why Oh Why‘. A dreary sounding song with a violin being the most prominent instrument. The entire track having news reports playing in the background, one for instance about police using force against protestors.

Overall Rumination has a very impressive flow and transition. It keeps a hold of your ears and never seems to let go. I would say my only real complaint about Rumination would be a sin many bands in my opinion are committing lately. Rumination comes in just shy of twenty nine minutes, and this is in fact an LP. As fantastic as the album is it mostly leaves you with a hunger for more. I expect this to be one of the more unknown and overlooked albums this year. I hope I am wrong in that assumption as this is definitely worthy of more.

7.0/10

DEREK RIX


Dark Buddha Rising – Inversum

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Inversum (Neurot) is a spectre; a whispering guide to internal torment. It prepares the scenario, distracts and occupies you before leaving you to the horrors of your own mind. Where this journey goes is of your own making, the suggestion and probing of the menacing soundtrack is merely the catalyst.

Dark Buddha Rising‘s fifth album, and the opening of their “Third Cycle”, consists of two sprawling twenty plus minute tracks, ‘E S O’ and ‘E X O’, that serve as an opportunity for mental exploration; the two extended fields facilitating a voyage of the mind. The images, and the level of meditation, allowed into the opportunity their soundscape provides will be specific to each listener, but this dark, ominous procession of building tension brings with it the prospect to submerge into their world.

Each track offers a similar pattern, which dynamically allows this to work as a cyclical journey, endlessly concluding in nightmarish cacophony. The initiation is gradual, the build-up menacing, as minutes of cloud gather in the mind, feedback subliminal and ever present, swelling and pitching, before doomy guitars hew a crossroads into the path, and slow, heavy riffs serve as an amphidromic point, an epicentre for the trance of repetition. Haunted, withdrawn vocals filter in and out, sometimes terrified, sometimes terrifying, at other moments softer, more enticing, before the intensity shifts. The tension pulls tighter and, from being in control of the vision, the host starts to loosen our restraints, juddering us from one unreality of our own making to an ordeal shaped by the blackened minds of others, as tortured denouements flail and rasp at the edges of our consciousness. Yet there is no slaying of the demon, bloodlust is left unsated, satisfaction rent from us, due to a sudden curtailing of proceedings, as the cycle begins its brooding again, sans a feeling of closure.

Dark Buddha Rising promote and celebrate the “Black Arts of Psychedelia”, but even those of us unaltered of state can achieve absorption in their ritualistic art. At times brooding, always oppressive, the encapsulating journey of Inversum requires immersion. Take its hand, and it will lead you to unsettling plains.

 

7.5/10

 

STEVE TOVEY


Limb – Terminal

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Limb Terminal cover

If you visit their Facebook page, this London, England set of rabble-rousers’ bio simply states: “Tune it down, turn it up.” And now that I’ve given Limb’s new album Terminal (New Heavy Sounds) a few spins I have to wholeheartedly endorse that mantra.

For a band that’s only been around since 2011 the rattling guitar tone and stellar production sure sounds confident. Rob Hoey’s throaty barks serve as the perfect complement to Pat Pask’s downtuned blues and Tom Mowforth’s forceful but controlled work on the drums. In terms of sonic quality, these Londoners sound on par with most doom acts on imprints like Relapse or Profound Lore. It’s groovy enough to show to your dad, but has enough impact to satisfy the younger heshers.

Terminal starts off with ‘Three Snake Leaves’ and at a running time of 1:45 it sets the stage for the headbanging to come, but it also drove me to a realization. Compared to typical Doom or Sludge offerings the songs on Terminal tend to come and go very quickly. There are four tracks that are done and over with in or less than three minutes. That isn’t necessarily a bad thing as it won’t wear out its welcome, but it makes you wonder how numbers like ‘Mortuary Teeth’ would’ve turned out given a little more room to grow. Truth be told the best songs here like ‘Spoils of a Portrait King’ and ‘Cocytus’ happen to be the longest in terms of length and for slowing the tempos down to Jimmy Bower levels of guitar crunch. And I’m not saying that playing slower is the key either as ‘Down by the Banks’ has a Clutch level of self-assured heavy rock swagger.

I don’t want to make it seem like this is a bad record by any stretch of the imagination. Hell, there’s only one moment on Terminal that feels uninspired and it’s the appropriately titled ‘Sleepwalkers.’ It’s all just a matter of these young Brits adding some tweaks to the songwriting.

England started it all with Black Sabbath and kept that momentum going over the years with legendary noise merchants like Cathedral and Electric Wizard. Only time will tell if Limb are up to that task, but I like their chances.

7.0/10

HANSEL LOPEZ